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This particular A40 Sports was in fabulous condition when it was spotted as an exhibit at the 2013 Classic Transport Gathering at Crich Tramway Village in Derbyshire, on the 26th August 2013. This particular Austin was made back in 1953 and it was first registered in the UK, in the same year, on the 28th of February 1953 so presumably has lived in the UK all its life. This one does have its original engine according to the DVLA, a 1.2 Litre (1198cc) Straight-Four engine which runs on petrol. This particular car when seen had some extras like the period badges and boot box to add to the cars character and it looked stunning at the time.
Company/Owner(s): King's Coach Tour and Transport Corporation
Fleet/Bus Number(s): 817, 815, 809
Classification(s): Air-conditioned Tourist Chartered Bus
Coachbuilder(s): Kia Motors Corporation
Body Model(s): Kia Granbird SD-II Parkway
Engine Model(s): Hyundai D6AC (Q340)
Chassis Model(s): Kia KM949S (KN2GB*722YK)
Transmission(s): 5-speed Manual Transmission
Suspension(s): Air Suspension
Seating Configuration(s): 2+1×2
Seating Capacity(ies): 61 (49+11 jump-seats+1 driver's seat)
Route(s): Various (Tourist Chartered)
Municipalities/cities passing: N/A
Type of Operation: Tourist Operation Non-Public Utility Bus (Special Trip / Tourist Class)
Area of Operation(s): Any point of Luzon: Ilocos Region (Region I), Cagayan Valley (Region II), Central Luzon (Region III), CALABARZON (Region IV-A), MIMAROPA (Region IV-B), Bicol Region (Region V), Cordillera Administrative Region (CAR)
Shot Location: In-front of Barasoain Church, Malolos City, Bulacan
Date Taken: July 21, 2015
Notices:
* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.
** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.
*** The specifications mentioned above are subjected for verification and may be changed without prior notice.
**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.
1974 Citroen DS23 Fuel Injection with optional Factory Air-condition. Seen at Citroen Conservatoire in Aulnay Sous Bois France
ford station wagon - custom parts and wear openhouse 2011 - nikon f2 photomic 1971 - 35mm weitwinkel wide nikkor f1:2 - fuji fujicolor superia x-tra 400
New series about my feelings of seasons changes. And first one with gold topic «Lost summer».
Acrylic and spray at canvas. 40x50 cm. Varnished. 2020
Bronze, early 3rd century B.C.E., Said to be from Orvieto
Condition: Index finger of left hand broken off and reattached; inset patches missing in drapery on left shoulder and behind right thigh; smooth greyish green patina.
H. (excluding casting tangs) 31.6 cm.
F. Roncalli (see Antichita dall'Umbria) states that the statuette was cast hollow over a partial core, which would not be surprising in view of its size; this seems to be confirmed by what appear to be the remains of iron chaplets in the recesses on the left shoulder and behind the right thigh. The casting tangs under the feet were retained for mounting the votive statue on a base. A casting fault at the top of the left calf is masked by a patch. The nipples are inlaid in copper.
Barefoot and wearing a short semicircular mantle draped around his waist and over his left shoulder and arm, the figure stands with his weight on his left leg, his right leg relaxed and placed slightly to the side, a pose which imparts an S-curve to his slim, smooth torso. Both arms are bent, the right raised a little from the body, and both the large, delicately modeled hands are spread in a gesture of prayer. Compared with his youthful body, his large head appears unexpectedly mature. Deep folds in the right side of his neck emphasize the turn of his head to the right and upward. The face is vigorously modeled with large, deep-set eyes, of which iris and pupil are indicated, under the furrowed brow. Slight depressions slanting away from the nostrils and from the corners of the full-lipped mouth enliven the modeling of the broad cheeks. Parted in the center, the hair, which covers the ears, ends in sickle-shaped clusters of short striated locks, of which a symmetrical pair rises prominently above the center of the forehead.
As H. Hoffmann points out, the serious and pathetic expression of the face, the arrangement of the locks above the forehead, and the studied twist of the head are clearly inspired by portraits of Alexander the Great. Another votive statuette with features modeled on those of Alexander the Great in the Staatliiche Antikensammlung, Munich (3003) and is clearly related to the present piece.
A votive inscription is engraved on the mantle in two parts, the first running along its edge from the left wrist to the corner of the garment below and reading: Vel Matunas turce (Vel Matunas dedicated). The second part follows the slanting folds of the drapery of the back, running from below the left elbow to the right buttock, where, to avoid the patch at this point, the last three letters are written boustrophedon above lur : mitla : cvera (precious/sacred gift to Lur). Vel is a frequent personal name. Matunas is the family name of a noble South Etruscan gens, recorded both at Cerveteri and at Tarquinia. However, the forms of some of the letters of the inscription are typical of the region of Orvieto-Volsinii-Bolsena. The name Lur occurs in inscriptions from Bolsena and Perugia and is thought to be that of a divinity. It seems likely therefore, despite the votary's South Etruscan descent, that his dedication was made in Central Etruria, in the neighborhood of Volsinii; and this conclusion is strengthened by the reported provenance of the statuette from Orvieto. Situated not far from Orvieto was, we know, the "Fanum Voltumnae," the federal sanctuary of the twelve Etruscan cities, whose inhabitants and leaders met there at regular intervals for common worship, political counsel, and the celebration of games. We may conjecture that it was the universal prestige of this pan-Etruscan sanctuary which induced a South Etruscan prince to dedicate a statuette of himself in the likeness of Alexander the Great to a divinity in this distant region.
Formerly in the collection of William Herbert Hunt, Texas thence the Barbara and Lawrence Fleischman collection, New York. Purchased by the Fleischmans from Sotheby's, New York, The Nelson Bunker Hunt Collection of Highly Important Greek Vases, The William Herbet Hunt Collection of Highly Important Greek, Roman, and Etruscan Bronzes, auct. cat., June 19, 1990, no. 37.
From the collection of the Getty Villa, Malibu, California.
All you need to make this DIY spot cooler is a bucket, some PVC pipe, a fan, and ice, reusable ice packs, and a frozen gallon jug of water—the homemade air conditioner was able to lower the temperature of a small room by only 2° to 3° F, and within 30 minutes the room temperature began to rise again.
The frozen jug of water was the best for cooling, apparently because it allows enough air to circulate around the jug to sufficiently cool it. And while the ice cubes initially produced the lowest air temperature, once they started melting the temperature measured outside the duct (pipe or cup) wasn’t much different than the room temperature. Again, the room temperature began to rise in 30 minutes.
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I took this one along the Capital Crescent Trail in Bethesda, figuring that it would simply be a nice shot of walkers and cyclists along the trail. It wasn't until I got home and downloaded the photos from my Leica that I saw the grim expression on the cyclist's face and what does not seem to be a friendly countenance. Maybe I took him by surprise. In any event, perhaps a study in the human condition on the parts of the cyclist and the pedestrian. People are interesting.
Bethesda, Maryland
Philippine Rabbit 903
Coach builder: Pilipinas Hino, Inc.
Model: Hino RF/PHI Coach
Transmission: Manual
Area of operation: Provincial operation
Fare type: Air conditioned
Plate No.: ACH-432 (Region 3)
Chassis No.: RF821
Engine No.: EK100
Aspiration: Naturally aspirated
Country of origin: The Philippines
Based on John Ward/express000’s photo of the same bus
Condition: Near Mint (NM)
Sleeve condition: Very Good (VG)
$3.75
In stock
Label / Catalog: Virgin Records America, Inc. – DMD 1171
Year: 1988
Country: US
Format: 12" - Promo -
Generic Virgin sleeve with small squared hole in the border and label info (see the picture for detail) / Media: is in perfect condition
The song was originally included on a Virgin Records sampler for the launch of Virgin Records America. In the spring of 1988 it was released as a single to test Abdul's commercial appeal. "Knocked Out" proved to be very successful for a low budget single: it became a Top 10 R&B hit.
The Mahabharata or Mahābhārata (US /məhɑːˈbɑrətə/; UK /ˌmɑːhəˈbɑːrətə/; Sanskrit: महाभारतम्, Mahābhāratam, pronounced [məɦaːˈbʱaːrət̪əm]) is one of the two major Sanskrit epics of ancient India, the other being the Ramayana.
Besides its epic narrative of the Kurukshetra War and the fates of the Kaurava and the Pandava princes, the Mahabharata contains philosophical and devotional material, such as a discussion of the four "goals of life" or purusharthas (12.161). Among the principal works and stories in the Mahabharata are the Bhagavad Gita, the story of Damayanti, an abbreviated version of the Ramayana, and the Rishyasringa, often considered as works in their own right.
Traditionally, the authorship of the Mahabharata is attributed to Vyasa. There have been many attempts to unravel its historical growth and compositional layers. The oldest preserved parts of the text are thought to be not much older than around 400 BCE, though the origins of the epic probably fall between the 8th and 9th centuries BCE. The text probably reached its final form by the early Gupta period (c. 4th century CE). The title may be translated as "the great tale of the Bhārata dynasty". According to the Mahabharata itself, the tale is extended from a shorter version of 24,000 verses called simply Bhārata.
The Mahabharata is the longest known epic poem and has been described as "the longest poem ever written". Its longest version consists of over 100,000 shloka or over 200,000 individual verse lines (each shloka is a couplet), and long prose passages. About 1.8 million words in total, the Mahabharata is roughly ten times the length of the Iliad and the Odyssey combined, or about four times the length of the Ramayana. W. J. Johnson has compared the importance of the Mahabharata to world civilization to that of the Bible, the works of Shakespeare, the works of Homer, Greek drama, or the Qur'an.
TEXTURAL HISTORY AND STRUCTURE
The epic is traditionally ascribed to the sage Vyasa, who is also a major character in the epic. Vyasa described it as being itihāsa (history). He also describes the Guru-shishya parampara, which traces all great teachers and their students of the Vedic times.
The first section of the Mahabharata states that it was Ganesha who wrote down the text to Vyasa's dictation. Ganesha is said to have agreed to write it only if Vyasa never paused in his recitation. Vyasa agrees on condition that Ganesha takes the time to understand what was said before writing it down.
The epic employs the story within a story structure, otherwise known as frametales, popular in many Indian religious and non-religious works. It is recited by the sage Vaisampayana, a disciple of Vyasa, to the King Janamejaya who is the great-grandson of the Pandava prince Arjuna. The story is then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year sacrifice for the king Saunaka Kulapati in the Naimisha Forest.
The text has been described by some early 20th-century western Indologists as unstructured and chaotic. Hermann Oldenberg supposed that the original poem must once have carried an immense "tragic force" but dismissed the full text as a "horrible chaos." Moritz Winternitz (Geschichte der indischen Literatur 1909) considered that "only unpoetical theologists and clumsy scribes" could have lumped the parts of disparate origin into an unordered whole.
ACCRETION AND REDACTION
Research on the Mahabharata has put an enormous effort into recognizing and dating layers within the text. Some elements of the present Mahabharata can be traced back to Vedic times. The background to the Mahabharata suggests the origin of the epic occurs "after the very early Vedic period" and before "the first Indian 'empire' was to rise in the third century B.C." That this is "a date not too far removed from the 8th or 9th century B.C." is likely. It is generally agreed that "Unlike the Vedas, which have to be preserved letter-perfect, the epic was a popular work whose reciters would inevitably conform to changes in language and style," so the earliest 'surviving' components of this dynamic text are believed to be no older than the earliest 'external' references we have to the epic, which may include an allusion in Panini's 4th century BCE grammar Ashtādhyāyī 4:2:56. It is estimated that the Sanskrit text probably reached something of a "final form" by the early Gupta period (about the 4th century CE). Vishnu Sukthankar, editor of the first great critical edition of the Mahabharata, commented: "It is useless to think of reconstructing a fluid text in a literally original shape, on the basis of an archetype and a stemma codicum. What then is possible? Our objective can only be to reconstruct the oldest form of the text which it is possible to reach on the basis of the manuscript material available." That manuscript evidence is somewhat late, given its material composition and the climate of India, but it is very extensive.
The Mahabharata itself (1.1.61) distinguishes a core portion of 24,000 verses: the Bharata proper, as opposed to additional secondary material, while the Ashvalayana Grhyasutra (3.4.4) makes a similar distinction. At least three redactions of the text are commonly recognized: Jaya (Victory) with 8,800 verses attributed to Vyasa, Bharata with 24,000 verses as recited by Vaisampayana, and finally the Mahabharata as recited by Ugrasrava Sauti with over 100,000 verses. However, some scholars such as John Brockington, argue that Jaya and Bharata refer to the same text, and ascribe the theory of Jaya with 8,800 verses to a misreading of a verse in Adiparvan (1.1.81). The redaction of this large body of text was carried out after formal principles, emphasizing the numbers 18 and 12. The addition of the latest parts may be dated by the absence of the Anushasana-parva and the Virata parva from the "Spitzer manuscript". The oldest surviving Sanskrit text dates to the Kushan Period (200 CE).
According to what one character says at Mbh. 1.1.50, there were three versions of the epic, beginning with Manu (1.1.27), Astika (1.3, sub-parva 5) or Vasu (1.57), respectively. These versions would correspond to the addition of one and then another 'frame' settings of dialogues. The Vasu version would omit the frame settings and begin with the account of the birth of Vyasa. The astika version would add the sarpasattra and ashvamedha material from Brahmanical literature, introduce the name Mahabharata, and identify Vyasa as the work's author. The redactors of these additions were probably Pancharatrin scholars who according to Oberlies (1998) likely retained control over the text until its final redaction. Mention of the Huna in the Bhishma-parva however appears to imply that this parva may have been edited around the 4th century.
The Adi-parva includes the snake sacrifice (sarpasattra) of Janamejaya, explaining its motivation, detailing why all snakes in existence were intended to be destroyed, and why in spite of this, there are still snakes in existence. This sarpasattra material was often considered an independent tale added to a version of the Mahabharata by "thematic attraction" (Minkowski 1991), and considered to have a particularly close connection to Vedic (Brahmana) literature. The Panchavimsha Brahmana (at 25.15.3) enumerates the officiant priests of a sarpasattra among whom the names Dhrtarashtra and Janamejaya, two main characters of the Mahabharata's sarpasattra, as well as Takshaka, the name of a snake in the Mahabharata, occur.
HISTORICAL REFERENCES
The earliest known references to the Mahabharata and its core Bharata date to the Ashtadhyayi (sutra 6.2.38) of Pāṇini (fl. 4th century BCE) and in the Ashvalayana Grhyasutra (3.4.4). This may suggest that the core 24,000 verses, known as the Bharata, as well as an early version of the extended Mahabharata, were composed by the 4th century BCE.
A report by the Greek writer Dio Chrysostom (c. 40 - c. 120 CE) about Homer's poetry being sung even in India seems to imply that the Iliad had been translated into Sanskrit. However, scholars have, in general, taken this as evidence for the existence of a Mahabharata at this date, whose episodes Dio or his sources identify with the story of the Iliad.
Several stories within the Mahabharata took on separate identities of their own in Classical Sanskrit literature. For instance, Abhijñānashākuntala by the renowned Sanskrit poet Kālidāsa (c. 400 CE), believed to have lived in the era of the Gupta dynasty, is based on a story that is the precursor to the Mahabharata. Urubhanga, a Sanskrit play written by Bhāsa who is believed to have lived before Kālidāsa, is based on the slaying of Duryodhana by the splitting of his thighs by Bhima.
The copper-plate inscription of the Maharaja Sharvanatha (533–534 CE) from Khoh (Satna District, Madhya Pradesh) describes the Mahabharata as a "collection of 100,000 verses" (shatasahasri samhita).
HISTORICAL CONTEXT
The historicity of the Kurukshetra War is unclear. Many historians estimate the date of the Kurukshetra war to Iron Age India of the 10th century BCE. The setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.
Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit (Arjuna's grandson) and the accession of Mahapadma Nanda (400-329 BCE), which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies. Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna (Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and, assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna, and thus approximately 950 BCE for the Bharata battle.
B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE, and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.
Attempts to date the events using methods of archaeoastronomy have produced, depending on which passages are chosen and how they are interpreted, estimates ranging from the late 4th to the mid-2nd millennium BCE. The late 4th millennium date has a precedent in the calculation of the Kaliyuga epoch, based on planetary conjunctions, by Aryabhata (6th century). Aryabhatta's date of February 18 3102 BCE for Mahabharata war has become widespread in Indian tradition. Coincidentally, this marks the disppearance of Krishna from earth from many source.[36] The Aihole inscription of Pulikeshi II, dated to Saka 556 = 634 CE, claims that 3735 years have elapsed since the Bharata battle, putting the date of Mahabharata war at 3137 BCE. Another traditional school of astronomers and historians, represented by Vriddha-Garga, Varahamihira (author of the Brhatsamhita) and Kalhana (author of the Rajatarangini), place the Bharata war 653 years after the Kaliyuga epoch, corresponding to 2449 BCE.
SYNOPSIS
The core story of the work is that of a dynastic struggle for the throne of Hastinapura, the kingdom ruled by the Kuru clan. The two collateral branches of the family that participate in the struggle are the Kaurava and the Pandava. Although the Kaurava is the senior branch of the family, Duryodhana, the eldest Kaurava, is younger than Yudhisthira, the eldest Pandava. Both Duryodhana and Yudhisthira claim to be first in line to inherit the throne.
The struggle culminates in the great battle of Kurukshetra, in which the Pandavas are ultimately victorious. The battle produces complex conflicts of kinship and friendship, instances of family loyalty and duty taking precedence over what is right, as well as the converse.
The Mahabharata itself ends with the death of Krishna, and the subsequent end of his dynasty and ascent of the Pandava brothers to heaven. It also marks the beginning of the Hindu age of Kali Yuga, the fourth and final age of mankind, in which great values and noble ideas have crumbled, and man is heading towards the complete dissolution of right action, morality and virtue.
THE OLDER GENERATIONS
King Janamejaya's ancestor Shantanu, the king of Hastinapura, has a short-lived marriage with the goddess Ganga and has a son, Devavrata (later to be called Bhishma, a great warrior), who becomes the heir apparent. Many years later, when King Shantanu goes hunting, he sees Satyavati, the daughter of the chief of fisherman, and asks her father for her hand. Her father refuses to consent to the marriage unless Shantanu promises to make any future son of Satyavati the king upon his death. To resolve his father's dilemma, Devavrata agrees to relinquish his right to the throne. As the fisherman is not sure about the prince's children honouring the promise, Devavrata also takes a vow of lifelong celibacy to guarantee his father's promise.
Shantanu has two sons by Satyavati, Chitrāngada and Vichitravirya. Upon Shantanu's death, Chitrangada becomes king. He lives a very short uneventful life and dies. Vichitravirya, the younger son, rules Hastinapura. Meanwhile, the King of Kāśī arranges a swayamvara for his three daughters, neglecting to invite the royal family of Hastinapur. In order to arrange the marriage of young Vichitravirya, Bhishma attends the swayamvara of the three princesses Amba, Ambika and Ambalika, uninvited, and proceeds to abduct them. Ambika and Ambalika consent to be married to Vichitravirya.
The oldest princess Amba, however, informs Bhishma that she wishes to marry king of Shalva whom Bhishma defeated at their swayamvara. Bhishma lets her leave to marry king of Shalva, but Shalva refuses to marry her, still smarting at his humiliation at the hands of Bhishma. Amba then returns to marry Bhishma but he refuses due to his vow of celibacy. Amba becomes enraged and becomes Bhishma's bitter enemy, holding him responsible for her plight. Later she is reborn to King Drupada as Shikhandi (or Shikhandini) and causes Bhishma's fall, with the help of Arjuna, in the battle of Kurukshetra.
THE PANDAVA AND KAURAVA PRINCES
When Vichitravirya dies young without any heirs, Satyavati asks her first son Vyasa to father children with the widows. The eldest, Ambika, shuts her eyes when she sees him, and so her son Dhritarashtra is born blind. Ambalika turns pale and bloodless upon seeing him, and thus her son Pandu is born pale and unhealthy (the term Pandu may also mean 'jaundiced'). Due to the physical challenges of the first two children, Satyavati asks Vyasa to try once again. However, Ambika and Ambalika send their maid instead, to Vyasa's room. Vyasa fathers a third son, Vidura, by the maid. He is born healthy and grows up to be one of the wisest characters in the Mahabharata. He serves as Prime Minister (Mahamantri or Mahatma) to King Pandu and King Dhritarashtra.
When the princes grow up, Dhritarashtra is about to be crowned king by Bhishma when Vidura intervenes and uses his knowledge of politics to assert that a blind person cannot be king. This is because a blind man cannot control and protect his subjects. The throne is then given to Pandu because of Dhritarashtra's blindness. Pandu marries twice, to Kunti and Madri. Dhritarashtra marries Gandhari, a princess from Gandhara, who blindfolds herself so that she may feel the pain that her husband feels. Her brother Shakuni is enraged by this and vows to take revenge on the Kuru family. One day, when Pandu is relaxing in the forest, he hears the sound of a wild animal. He shoots an arrow in the direction of the sound. However the arrow hits the sage Kindama, who curses him that if he engages in a sexual act, he will die. Pandu then retires to the forest along with his two wives, and his brother Dhritarashtra rules thereafter, despite his blindness.
Pandu's older queen Kunti, however, had been given a boon by Sage Durvasa that she could invoke any god using a special mantra. Kunti uses this boon to ask Dharma the god of justice, Vayu the god of the wind, and Indra the lord of the heavens for sons. She gives birth to three sons, Yudhisthira, Bhima, and Arjuna, through these gods. Kunti shares her mantra with the younger queen Madri, who bears the twins Nakula and Sahadeva through the Ashwini twins. However, Pandu and Madri indulge in sex, and Pandu dies. Madri dies on his funeral pyre out of remorse. Kunti raises the five brothers, who are from then on usually referred to as the Pandava brothers.
Dhritarashtra has a hundred sons through Gandhari, all born after the birth of Yudhishtira. These are the Kaurava brothers, the eldest being Duryodhana, and the second Dushasana. Other Kaurava brothers were Vikarna and Sukarna. The rivalry and enmity between them and the Pandava brothers, from their youth and into manhood, leads to the Kurukshetra war.
LAKSHAGRAHA (THE HOUSE OF LAC)
After the deaths of their mother (Madri) and father (Pandu), the Pandavas and their mother Kunti return to the palace of Hastinapur. Yudhisthira is made Crown Prince by Dhritarashtra, under considerable pressure from his kingdom. Dhritarashtra wanted his own son Duryodhana to become king and lets his ambition get in the way of preserving justice.
Shakuni, Duryodhana and Dusasana plot to get rid of the Pandavas. Shakuni calls the architect Purochana to build a palace out of flammable materials like lac and ghee. He then arranges for the Pandavas and the Queen Mother Kunti to stay there, with the intention of setting it alight. However, the Pandavas are warned by their wise uncle, Vidura, who sends them a miner to dig a tunnel. They are able to escape to safety and go into hiding. Back at Hastinapur, the Pandavas and Kunti are presumed dead.
MARRIAGE TO DRAUPADI
Whilst they were in hiding the Pandavas learn of a swayamvara which is taking place for the hand of the Pāñcāla princess Draupadī. The Pandavas enter the competition in disguise as Brahmins. The task is to string a mighty steel bow and shoot a target on the ceiling, which is the eye of a moving artificial fish, while looking at its reflection in oil below. Most of the princes fail, many being unable to lift the bow. Arjuna succeeds however. The Pandavas return home and inform their mother that Arjuna has won a competition and to look at what they have brought back. Without looking, Kunti asks them to share whatever it is Arjuna has won among themselves. On explaining the previous life of Draupadi, she ends up being the wife of all five brothers.
INDRAPRASTHA
After the wedding, the Pandava brothers are invited back to Hastinapura. The Kuru family elders and relatives negotiate and broker a split of the kingdom, with the Pandavas obtaining a new territory. Yudhishtira has a new capital built for this territory at Indraprastha. Neither the Pandava nor Kaurava sides are happy with the arrangement however.
Shortly after this, Arjuna elopes with and then marries Krishna's sister, Subhadra. Yudhishtira wishes to establish his position as king; he seeks Krishna's advice. Krishna advises him, and after due preparation and the elimination of some opposition, Yudhishthira carries out the rājasūya yagna ceremony; he is thus recognised as pre-eminent among kings.
The Pandavas have a new palace built for them, by Maya the Danava. They invite their Kaurava cousins to Indraprastha. Duryodhana walks round the palace, and mistakes a glossy floor for water, and will not step in. After being told of his error, he then sees a pond, and assumes it is not water and falls in. Draupadi laughs at him and ridicules him by saying that this is because of his blind father Dhritrashtra. He then decides to avenge his humiliation.
THE DICE GAME
Shakuni, Duryodhana's uncle, now arranges a dice game, playing against Yudhishtira with loaded dice. Yudhishtira loses all his wealth, then his kingdom. He then even gambles his brothers, himself, and finally his wife into servitude. The jubilant Kauravas insult the Pandavas in their helpless state and even try to disrobe Draupadi in front of the entire court, but her honour is saved by Krishna who miraculously creates lengths of cloth to replace the ones being removed.
Dhritarashtra, Bhishma, and the other elders are aghast at the situation, but Duryodhana is adamant that there is no place for two crown princes in Hastinapura. Against his wishes Dhritarashtra orders for another dice game. The Pandavas are required to go into exile for 12 years, and in the 13th year must remain hidden. If discovered by the Kauravas, they will be forced into exile for another 12 years.
EXILE AND RETURN
The Pandavas spend thirteen years in exile; many adventures occur during this time. They also prepare alliances for a possible future conflict. They spend their final year in disguise in the court of Virata, and are discovered just after the end of the year.
At the end of their exile, they try to negotiate a return to Indraprastha. However, this fails, as Duryodhana objects that they were discovered while in hiding, and that no return of their kingdom was agreed. War becomes inevitable.
THE BATTLE AT KURUKSHETRA
The two sides summon vast armies to their help and line up at Kurukshetra for a war. The kingdoms of Panchala, Dwaraka, Kasi, Kekaya, Magadha, Matsya, Chedi, Pandyas, Telinga, and the Yadus of Mathura and some other clans like the Parama Kambojas were allied with the Pandavas. The allies of the Kauravas included the kings of Pragjyotisha, Anga, Kekaya, Sindhudesa (including Sindhus, Sauviras and Sivis), Mahishmati, Avanti in Madhyadesa, Madra, Gandhara, Bahlika people, Kambojas and many others. Before war being declared, Balarama had expressed his unhappiness at the developing conflict and left to go on pilgrimage; thus he does not take part in the battle itself. Krishna takes part in a non-combatant role, as charioteer for Arjuna.
Before the battle, Arjuna, seeing the opposing army includes many relatives and loved ones, including his great grandfather Bhishma and his teacher Drona, has doubts about the battle and he fails to lift his Gāndeeva bow. Krishna wakes him up to his call of duty in the famous Bhagavad Gita section of the epic.
Though initially sticking to chivalrous notions of warfare, both sides soon adopt dishonourable tactics. At the end of the 18-day battle, only the Pandavas, Satyaki, Kripa, Ashwatthama, Kritavarma, Yuyutsu and Krishna survive.
THE END OF THE PANDAVAS
After "seeing" the carnage, Gandhari, who had lost all her sons, curses Krishna to be a witness to a similar annihilation of his family, for though divine and capable of stopping the war, he had not done so. Krishna accepts the curse, which bears fruit 36 years later.
The Pandavas, who had ruled their kingdom meanwhile, decide to renounce everything. Clad in skins and rags they retire to the Himalaya and climb towards heaven in their bodily form. A stray dog travels with them. One by one the brothers and Draupadi fall on their way. As each one stumbles, Yudhisthira gives the rest the reason for their fall (Draupadi was partial to Arjuna, Nakula and Sahadeva were vain and proud of their looks, and Bhima and Arjuna were proud of their strength and archery skills, respectively). Only the virtuous Yudhisthira, who had tried everything to prevent the carnage, and the dog remain. The dog reveals himself to be the god Yama (also known as Yama Dharmaraja), and then takes him to the underworld where he sees his siblings and wife. After explaining the nature of the test, Yama takes Yudhishthira back to heaven and explains that it was necessary to expose him to the underworld because (Rajyante narakam dhruvam) any ruler has to visit the underworld at least once. Yama then assures him that his siblings and wife would join him in heaven after they had been exposed to the underworld for measures of time according to their vices.
Arjuna's grandson Parikshit rules after them and dies bitten by a snake. His furious son, Janamejaya, decides to perform a snake sacrifice (sarpasattra) in order to destroy the snakes. It is at this sacrifice that the tale of his ancestors is narrated to him.
THE REUNION
The Mahabharata mentions that Karna, the Pandavas, and Dhritarashtra's sons eventually ascended to svarga and "attained the state of the gods" and banded together — "serene and free from anger."
THEMES
JUST WAR
The Mahabharata offers one of the first instances of theorizing about "just war", illustrating many of the standards that would be debated later across the world. In the story, one of five brothers asks if the suffering caused by war can ever be justified. A long discussion ensues between the siblings, establishing criteria like proportionality (chariots cannot attack cavalry, only other chariots; no attacking people in distress), just means (no poisoned or barbed arrows), just cause (no attacking out of rage), and fair treatment of captives and the wounded.
Versions, translations, and derivative works.
CRITICAL EDITION
Between 1919 and 1966, scholars at the Bhandarkar Oriental Research Institute, Pune, compared the various manuscripts of the epic from India and abroad and produced the Critical Edition of the Mahabharata, on 13,000 pages in 19 volumes, followed by the Harivamsha in another two volumes and six index volumes. This is the text that is usually used in current Mahabharata studies for reference. This work is sometimes called the "Pune" or "Poona" edition of the Mahabharata.
REGIONAL VERSIONS
Many regional versions of the work developed over time, mostly differing only in minor details, or with verses or subsidiary stories being added. These include the Tamil street theatre, terukkuttu and kattaikkuttu, the plays of which use themes from the Tamil language versions of Mahabharata, focusing on Draupadi.
Outside the Indian subcontinent, in Indonesia, a version was developed in ancient Java as Kakawin Bhāratayuddha in the 11th century under the patronage of King Dharmawangsa (990–1016), and later it spread to neighboring island of Bali where today remains a Hindu majority island, despite today Indonesia is the most populous Muslim majority nation. It has become the fertile source for Javanese literature, dance drama (wayang wong), and wayang shadow puppet performances. This Javanese version differ slightly from the original Indian version. For example Draupadi is only be wed to Yudhisthira, not to the entire Pandavas brothers, this might demonstrate ancient Javanese opposition of polyandry practice. The author later added some female characters to be wed to the Pandavas. Arjuna for example is described as having many wives and consorts next to Subhadra. Another difference is Shikhandi did not undergone sex change and remains as a woman, to be wed to Arjuna, and took the role as a warrior princess during the war. Another twist is Gandhari was described as antagonist character that hates Pandava so much. Her hate was out of jealousy, because during svayambara for the hand of Gandhari, she was actually in love with Pandu, but later being wed to his blind elder brother instead, whom she does not love, as a protest she then blindfold herself. Another notable difference is the inclusion of Punakawans, the clown servants of the main characters in the storyline, which is not found in Indian version. This characters includes Semar, Petruk, Gareng and Bagong, they are much-loved by Indonesian audiences. There are some spin-off episode developed in ancient Java, such as Arjunawiwaha composed in 11th century.
A Kawi version of the Mahabharata, of which eight of the eighteen parvas survive, is found on the Indonesian island of Bali. It has been translated into English by Dr. I. Gusti Putu Phalgunadi.
TRANSLATIONS
A Persian translation of Mahabharta, titled Razmnameh, was produced at Akbar's orders, by Faizi and `Abd al-Qadir Bada'uni in the 18th century.
The first complete English translation was the Victorian prose version by Kisari Mohan Ganguli, published between 1883 and 1896 (Munshiram Manoharlal Publishers) and by M. N. Dutt (Motilal Banarsidass Publishers). Most critics consider the translation by Ganguli to be faithful to the original text. The complete text of Ganguli's translation is in the public domain and is available online.
Another English prose translation of the full epic, based on the Critical Edition, is in progress, published by University Of Chicago Press. It was initiated by Indologist J. A. B. van Buitenen (books 1–5) and, following a 20-year hiatus caused by the death of van Buitenen, is being continued by D. Gitomer of DePaul University (book 6), J. L. Fitzgerald of Brown University (books 11–13) and Wendy Doniger of the University of Chicago (books 14–18).
An early poetry translation by Romesh Chunder Dutt and published in 1898 condenses the main themes of the Mahabharata into English verse. A later poetic "transcreation" (author's own description) of the full epic into English, done by the poet P. Lal is complete, and in 2005 began being published by Writers Workshop, Calcutta. The P. Lal translation is a non-rhyming verse-by-verse rendering, and is the only edition in any language to include all slokas in all recensions of the work (not just those in the Critical Edition). The completion of the publishing project is scheduled for 2010. Sixteen of the eighteen volumes are now available.
A project to translate the full epic into English prose, translated by various hands, began to appear in 2005 from the Clay Sanskrit Library, published by New York University Press. The translation is based not on the Critical Edition but on the version known to the commentator Nīlakaṇṭha. Currently available are 15 volumes of the projected 32-volume edition.
Indian economist Bibek Debroy has also begun an unabridged English translation in ten volumes. Volume 1: Adi Parva was published in March 2010.
Many condensed versions, abridgements and novelistic prose retellings of the complete epic have been published in English, including works by Ramesh Menon, William Buck, R. K. Narayan, C. Rajagopalachari, K. M. Munshi, Krishna Dharma, Romesh C. Dutt, Bharadvaja Sarma, John D. Smith and Sharon Maas.
DERIVATIVE LITERATURE
Bhasa, the 2nd- or 3rd-century CE Sanskrit playwright, wrote two plays on episodes in the Marabharata, Urubhanga (Broken Thigh), about the fight between Duryodhana and Bhima, while Madhyamavyayoga (The Middle One) set around Bhima and his son, Ghatotkacha. The first important play of 20th century was Andha Yug (The Blind Epoch), by Dharamvir Bharati, which came in 1955, found in Mahabharat, both an ideal source and expression of modern predicaments and discontent. Starting with Ebrahim Alkazi it was staged by numerous directors. V. S. Khandekar's Marathi novel, Yayati (1960) and Girish Karnad's debut play Yayati (1961) are based on the story of King Yayati found in the Mahabharat. Bengali writer and playwright, Buddhadeva Bose wrote three plays set in Mahabharat, Anamni Angana, Pratham Partha and Kalsandhya. Chitra Banerjee Divakaruni wrote a version from the perspective of Draupadi entitled The Palace of Illusions: A Novel, which was published in 2008.
Amar Chitra Katha published a 1,260 page comic book version of the Mahabharata.
IN FILM AND TELEVISION
In Indian cinema, several film versions of the epic have been made, dating back to 1920. In Telugu film Daana Veera Soora Karna (1977) directed by and starring N. T. Rama Rao depicts Karna as the lead character. The Mahabharata was also reinterpreted by Shyam Benegal in Kalyug. Prakash Jha directed 2010 film Raajneeti was partially inspired by the Mahabharata. A 2013 animated adaptation holds the record for India's most expensive animated film.
In the late 1980s, the Mahabharat TV series, directed by Ravi Chopra, was televised on India's national television (Doordarshan). In the Western world, a well-known presentation of the epic is Peter Brook's nine-hour play, which premiered in Avignon in 1985, and its five-hour movie version The Mahabharata (1989).
Uncompleted projects on the Mahabharata include a ones by Rajkumar Santoshi, and a theaterical adaptation planned by Satyajit Ray
JAIN VERSION
ain version of Mahabharata can be found in the various Jain texts like Harivamsapurana (the story of Harivamsa) Trisastisalakapurusa Caritra (Hagiography of 63 Illustrious persons), Pandavacaritra (lives of Pandavas) and Pandavapurana (stories of Pandavas). From the earlier canonical literature, Antakrddaaśāh (8th cannon) and Vrisnidasa (upangagama or secondary canon) contain the stories of Neminatha (22nd Tirthankara), Krishna and Balarama. Prof. Padmanabh Jaini notes that, unlike in the Hindu Puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain puranas. Instead they serve as names of two distinct class of mighty brothers, who appear nine times in each half of time cycles of the Jain cosmology and rule the half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the Jinacharitra by Bhadrabahu swami (4th–3rd century BCE). According to Jain cosmology Balarama, Krishna and Jarasandha are the ninth and the last set of Baladeva, Vasudeva, and Partivasudeva. The main battle is not the Mahabharata, but the fight between Krishna and Jarasandha (who is killed by Krishna). Ultimately, the Pandavas and Balarama take renunciation as Jain monks and are reborn in heavens, while on the other hand Krishna and Jarasandha are reborn in hell. In keeping with the law of karma, Krishna is reborn in hell for his exploits (sexual and violent) while Jarasandha for his evil ways. Prof. Jaini admits a possibility that perhaps because of his popularity, the Jain authors were keen to rehabilitate Krishna. The Jain texts predict that after his karmic term in hell is over sometime during the next half time-cycle, Krishna will be reborn as a Jain Tirthankara and attain liberation. Krishna and Balrama are shown as contemporaries and cousins of 22nd Tirthankara, Neminatha. According to this story, Krishna arranged young Neminath’s marriage with Rajamati, the daughter of Ugrasena, but Neminatha, empathizing with the animals which were to be slaughtered for the marriage feast, left the procession suddenly and renounced the world.
CULTURAL INFLUENCE
In the Bhagavad Gita, Krishna explains to Arjuna his duties as a warrior and prince and elaborates on different Yogic and Vedantic philosophies, with examples and analogies. This has led to the Gita often being described as a concise guide to Hindu philosophy and a practical, self-contained guide to life. In more modern times, Swami Vivekananda, Bal Gangadhar Tilak, Mahatma Gandhi and many others used the text to help inspire the Indian independence movement.
WIKIPEDIA
This coach seated air-conditioned Versa was new to Stagecoach Bluebird Buses, in 07/2013, in JET livery for the 727 service from Aberdeen City Centre to Aberdeen Airport. Transferred to Stagecoach Fife in 2016 for the 747 JET service, Halbeath P&R - Inverkeithing - Edinburgh Airport receiving suitable branding and livery, it was later repainted in standard 'Beachball' livery. One of three sisters transferred south of the Scottish Border to Carlisle it now wears the 'new' local livery as seen here on Lowther Street, in its new home city, on 15/03/2023, together with a happy driver! It is operating Service 63 13:42 Durranhill - Carlisle City Centre - Infirmary - Sandsfield Park. © Peter Steel 2023.
MERSEYSIDE TRANSPORT TRUST INFORMATION
Fleet number: D553
Registration: JKC 178
Chassis: Daimler CVA6 15491
Body: NCME
Layout: H30/26R
New: March 1949
In 1947, Liverpool Corporation was more than concerned over the appalling condition of the neglected tram fleet and so it was decided that the number of new buses to be ordered would be increased from 100 to a total of 290. Unfortunately, AEC was overwhelmed with orders and was not able to accept any further orders for that year. It was therefore with great reluctance that the idea of standardising on the one make of vehicle had to be abandoned.
In July 1947 additional chassis orders were placed with Daimler for 90 , Leyland for 50 and 50 for Crossley. Of the 90 Daimler chassis, 80 had the AEC A173 7.7 litre engine that was standard in all but 25 of the AECs that had been delivered so far, the remaining 10 had the Daimler CD 8.6 litre engine. All 90 had pre-selector (spring operated) gearboxes fitted, popular at the time because it was thought that it was easier to teach a tram driver to drive a bus fitted with this gearbox than one fitted with a crash box.
The bodywork fitted to these Daimler chassis was also of two differing types: 50 were bodied by Northern Counties Motor and Engineering Co. Ltd. of Wigan who altered their standard five bay design to a four bay one especially for this order. The other 40 chassis were fitted with Weymann frames, which were completed by the Corporation at Edge Lane Works.
D553 was delivered in March 1949. It has an AEC engine as did all the other Northern Counties bodied Daimlers supplied to Liverpool Corporation (apart from D565 which had been completed ahead of the rest so that it could be exhibited at the 1948 Commercial Motor Show).
It commenced its career at Prince Alfred Road Garage but its stay in the south of the city was short lived as in 1951 it was reallocated to Litherland Garage along with the rest of the Daimlers as part of the North Liverpool tramway replacement scheme. D553 remained at Litherland until it was withdrawn from service in August 1965, the last Daimler (D600) being withdrawn the following February.
After withdrawal, D553 is documented as being sold, becoming a store shed in Kirkby in September 1965. In the early 1980s it was discovered behind a large house on the outskirts of Formby were it had been used as a playroom for the children of a wealthy Liverpool pools magnate.
After negotiating a deal, the rescue of D553 was drawn out over a two-year period. This was because it had sunk up to its axles in the very soft sandy soil that is typical of this part of the region. After an unsuccessful attempt to drag the bus out of the garden, the group was able to enlist the assistance of a Territorial Army group in 1983.
Unfortunately even the TA could not rescue D553 over the weekend! It was not until the following year, 1984, that the TA returned to have another attempt at pulling the bus out. This time, with the help of an oxy-acetylene cutting tool, the rear brakes were freed off and D553 was successfully towed out of the field and to Burscough.
D553 has remained under cover since its arrival; it is in the sort of condition that you would expect as a result of nearly 20 years of sitting in a field in a salty atmosphere. It has no interior fittings, the body structure is rotten, the back brake gear has been butchered and the engine sump has more sand in it than oil, but we have not given up hope of seeing it restored.
Some parts have since been sourced including a replacement A173 engine! Once money and time permits it will be nice to see her on the road again.
Please see the Trust's website www.mttrust.co.uk for more information on the MTT and its collection or if you would like to become a member and help us restore and maintain our varied collection.
I've traded hands with this book before. Bought and sold. However I have never seen, let alone had the chance to buy a copy, in such immaculate condition. This one is almost hot off the press.
It has one signature in the upper inside right corner. The paper cover (not pictured here) has a tiny rip.
Complete with original book cover that someone was smart enough to cover with protective plastic, to insure survival over the many years.
Two sizes of Epoch Ava puhi moni Shampoo and Light Conditioner on a purple background with a pretty yellow flower.
Model: me
Make -up: by me
Jewelery: ear rings only
Assistant: my camera
Lights: natural light ( which I love so much )
Conditioned, soft, skin. Try our exfoliation Wrap
Wedensday.
And still on the Island.
Through the night, yet more rain fell, and into the morning so I woke to the sound of yet another cloudburst. But it should be clearing soon.
So, I leap out of bed, do 50 press-ups, have a cold shower and am ready for the rigours of the day ahead, and in this I would be helped by a pot of black coffee and the finest sausage and bacon sandwich known to man.
And a man in the kitchen makes it for me, so all I have to do is eat it.
Non nom nom.
I drink the last dregs off the coffee, and I'm away to work.
It was supposed to be a slow and easy start, but I was summoned to an emergency department meeting, and needed to be at the factory to get internet access.
Our soon-to-be-ex-boss is now officially our ex-boss, and we have a new interim manager.
That's it.
So on with the audit.
Outside, the clouds did clear and the sun did shine, and did shine into the meeting room where even in November was so warm the air conditioning could not cope and we got very warm indeed.
We broke for lunch, and talked about the struggles we face, and how jolly nice the Island is.
Well, it is.
We were done by half three, so I drove back to the hotel, but saw the sign I had passed dozens of times, pointing to the 11th century church of St John the Baptist. Today would be the day to visit.
Light was fading fast, but with a warm light, and only with my compact camera, my shots won't win many prizes, but the best camera is the one you have.
From the outside, it seems to be a very Victorian church, but there is a Norman arch in the porch, and many more details inside, among the Victorian fixtures and fittings.
Inside there is a very tall and narrow Jacobian pulpit, some fine monuments from before the 19th century work, and some what I think is medieval glass, or at least fragements reset.
Back at the hotel I wrote a little then decided I really should go an exercise my fat little legs, so should walk into Cowes for a pint at the Ale House, where there was a fine firkin of porter on.
But, before then, as I walked along the promenade, over the other side of the Solent, the just past full moon rose over the Pompy skyline. It was pretty breath-taking, I leaned on railings to watch it rise and get brighter and its yellow colour fade to pure white.
Dozens of other people were doing the same thing too.
And it was a free show.
My favourite price.
I walk into town and up the Ale House, a group of sailing types were talking over pints of fizzy Eurolager, so I order porter just because I can.
There was a wide range of places to eat, most with lots of free tables.
I wasn't in a seafood mood, curry perhaps, but then at a restaurant I saw they had a dish called "sambal chicken". Sambal is a spicy chili sauce from Indonesia, that I sued to eat lots of when I was on the survey boats.
I asked, do you make your own sambal?
They did.
And cocktails were two for £15.
I order the sambal chicken and a marshmallow martini.
Very fuckin sophisticated.
The sambal was hot, just about bearable, but not not leave any doubt, it came with sliced fresh chilli, as did the Thai spiced cheesy chips.
I eat most of it all, then finish up with a "rhubarb and custard cocktail, which did mix quite poorly with the sambal on the walk back to the hotel.
Back to the hotel, I settle the bill and so all ready to leave in the morning, as I have to catch the six o'clock ferry.
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The Church of St. John the Baptist is a parish church located in Northwood, Isle of Wight. The church dates from the 12th century. The mid-19th century saw extensive restoration work carried out on the church. In 1864 the wooden tower and dormer window were both swept away. The restoration was completed in 1874. Despite this restoration work, the church still retains many of its original features including a Norman arch over the south doorway and a Jacobean pulpit.
www.spottinghistory.com/view/12080/church-of-st-john-the-...
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NORTHWOOD
Northewode (xiii cent.).
Northwood is a parish and village midway between Newport and Cowes, and now includes Pallance Gate. In 1894 the parish was extended to include a part of the parish of St. Nicholas. (fn. 1) The soil is for the most part loam, while the subsoil is of clay and gravel. The parish contains 4,333 acres, of which 878 acres are arable, 2,612 acres are permanent grass and 419 acres woodlands. There are also 292 acres of foreshore, 2 of land covered by water and 78 by tidal water. Cowes contains 576 acres, of which 2 acres are arable and 166 permanent grass. There are also 35 acres of foreshore and 5 acres of land covered by water. (fn. 2) There is a station on the Isle of Wight Central railway at the cement works, available for Northwood, and the pumping station of the Cowes Waterworks is situated at Broadfields within the parish. The Associated Portland Cement Manufacturers have large works on the Medina at the West Medina Mills, and there are brickworks at Hillis belonging to Messrs. Pritchett. There existed a confraternity of Brothers and Sisters of St. John Baptist (fn. 3) in a building, later called the Church House, which was standing in 1690. It was founded c. 1500 and dissolved in 1536. An old glebe barn, with a date stone 'Restored 1742,' was pulled down in 1901. There is a Council school (mixed), built in 1855 and enlarged in 1906. The rectory-house lies to the east of the church and dates from the 18th century. (fn. 4)
The parish has a long seaboard as the north-west boundary, which includes the bays of Thorness and Gurnard, the latter the landing-place of Charles II in 1671. Gurnard (fn. 5) is a small village, mostly consisting of villas with a number of artisans' dwellings. There are a coastguard station here and a Council school, erected in 1863.
Northwood Park, the property of Mr. E. Granville Ward, was occupied from 1902 to 1906 by a community of Benedictine nuns, who have since moved to Appley, near Ryde (q.v.). The house, which is properly in Cowes, was built in 1837, on the site of a former residence called Belle View, by Mr. George H. Ward, uncle to the present owner, and is a somewhat stately stone building of classic detail, to which a wing has been since added.
At Hurstake on the Medina there was in the 18th century a flourishing shipyard, but by the end of the century it had fallen to decay. (fn. 6)
Cowes was taken out of Northwood and constituted a separate parish under the Local Government Act of 1894. (fn. 7) It is a thriving seaport town, daily increasing inland to the south, and is a terminus of the Isle of Wight Central railway and the main entrance to the Isle of Wight from Southampton. A steam ferry and launch service connect it with East Cowes. The town affairs are regulated under the Local Government Act of 1894 by an urban district council, who have acquired control of the water supply and gasworks. There is a steamboat pier and landingstage, and the Victoria Promenade Pier was built by the urban district council in 1901. There are wharves and storehouses along the Medina. The principal industries are the shipbuilding business of John Samuel White & Co., Ltd., the brass and iron foundry of Messrs. William White, the ropery of Messrs. Henry Bannister & Co. and the well-known sail-making establishment of Messrs. Ratsey & Lapthorn. A recreation ground of 9 acres was presented to the town by Mr. W. G. Ward in 1859.
The main or High Street of Cowes is a narrow, winding, old-fashioned road, widening as it approaches the shore at the north end, and finally terminating in the Parade, the principal sea-front of the town. At the end of the Parade is the Royal Yacht Squadron (fn. 8) Club House, converted to its present use in 1858, and beyond is the 'Green,' made over to the town authorities in 1864 by Mr. George R. Stephenson. The well-known annual regatta is held here the first week in August. (fn. 9) The oldest inn is the 'Fountain,' by the landing-pier, dating from the 18th century. The Gloucester Hotel, by the Parade, was the former home of the Royal Yacht Squadron, and probably owes its name to the visit of the Duke of Gloucester and his sister the Princess Sophia in 1811. The Royal Marine Hotel, also on the Parade, was certainly in existence at the beginning of the 19th century. (fn. 10) A public cemetery, about half a mile south of the town, was opened in 1855, and is under a joint burial board composed of members from Cowes and Northwood.
Besides Northwood Park, the principal residences are Egypt House, (fn. 11) the property of Mr. E. Granville Ward, and Nubia House, the home of Sir Godfrey Baring, late M.P. for the Island.
The name Cowes dates from the beginning of the 16th century, before which time the port—if port it could be called—was higher up the river at Shamblers. (fn. 12) In 1512 the fleet under Sir Edward Haward victualled at Cowes (the Cowe) on its way to Guienne, (fn. 13) so it is evident the place did not take its name from the defensive work, which was certainly not built before 1539. (fn. 14) Leland speaks of forts both at East and West Cowes, (fn. 15) but the former had become a ruin by the 17th century. (fn. 16) The latter, however, was kept up and added to, and had, in addition to the gun platform and magazine, apartments for the captain and gunners, and at the end of the 18th century mounted eleven nine-pounders. (fn. 17)
The inhabitants of this part of Northwood parish seem to have been seafarers and traders, or at any rate smugglers, as early as the 14th century. In July 1395 Thomas Shepherd received a 'pardon of the forfeitures and imprisonment incurred by him because he and two of the ferrymen sold two sacks of wool to men of a skiff from Harflete, carried the said wool as far as le Soland and there delivered the same, taking money.' (fn. 18) At another time he 'sold wool without custom . . . with the clerks of the chapel of the Earl of Salisbury, and at another time with a skiff from Harflete belonging to Janin Boset of Harflue.' (fn. 19)
The merchants' houses and stores were principally at East Cowes, where most of the business was transacted; but West Cowes in the 18th century became a shipbuilding centre, contributing many first-class battleships to the English navy. (fn. 20) By the year 1780 it was 'the place of greatest consideration in the parish of Northwood,' (fn. 21) and though the town was indifferently built, with very narrow streets, the inhabitants managed to be 'in general, genteel and polite although not troublesomely ceremonious.' (fn. 22)
In 1795 there were 2,000 inhabitants and the town had a good trade in provisions to the fleets riding in the roads waiting for a wind or a convoy. While the lower part of Cowes was crowded with seamen's cottages and business premises, the upper part on the hill slope was occupied by villas, chiefly of retired naval men. (fn. 23)
By the 19th century the tide of prosperity began to flow from East to West Cowe, which became a favourite bathing and boating resort, patronized by Royalty. The town now grew rapidly, and in 1816 an Act was passed for 'lighting, cleansing and otherwise improving the town of West Cowes . . . and for establishing a market within the said town.' (fn. 24)
The advent of the Royal Yacht Squadron, and the consequent popularity of racing, put a seal on West Cowes. It became fashionable and has remained so ever since—the hub of the yachting world.
There are two halls for entertainments—the Foresters' Hall in Sun Hill and another in Bridge Road, each capable of seating over 500 people.
There are Council schools in Cross Street (infants), and a mixed school has been lately erected in the same street; boys' and infants' in York Street; non-provided (boys and girls) in Cross Street.
MANORS
There is no mention of a manor of NORTHWOOD in Domesday Book, and it seems probable that then, as in the 13th century, the greater part of the land in the parish formed a member of the manor of Bowcombe in Carisbrooke (fn. 25) (q.v.). In the 17th century this land came to be regarded as a separate manor, but it continued to follow the descent of Bowcombe (fn. 26) until the latter half of the 18th century, when it was presumably sold to the Wards, whose representative, Mr. Edmund Granville Ward, is the present lord of the manor.
There was a small holding in Northwood possibly, as Mr. Stone suggests from research he has made, to be identified with Shamlord (q.v.). It was held, together with other property, under the manor of Bowcombe by a branch of the Trenchard family at least as early as 1338. (fn. 27) In 1560 Richard Trenchard, who seems to have been the grandson of John Trenchard of Chessell in Shalfleet, died seised of this property, which he had held 'in socage by fealty and rent of 25s. yearly, suit at court and finding one man and one woman yearly to mow the corn of the farmer of Bowcombe for one day.' He was succeeded by his son William. (fn. 28)
There were also lands in Northwood which formed a member of the manor of Alvington in Carisbrooke and were held in the reign of Henry III by William de St. Martin. (fn. 29) They afterwards belonged to Sir Stephen Popham (fn. 30) and descended to Sir Nicholas Wadham in the early part of the 16th century, at which time they were regarded as a separate manor; they continued, however, to follow the descent of Alvington (q.v.).
In the reign of Henry VIII there was in the parish much woodland which belonged before the Dissolution to the Prior and convent of Christchurch Twyneham, (fn. 31) who had perhaps bought it from the abbey of St. Mary, Romsey, to which it belonged in the 13th century. (fn. 32) In 1280 this abbey had received from Edward I a confirmation of a charter of Henry II granting them 'all their wood of Northwood, as King Edward gave it to them.' (fn. 33) There is, however, no mention of any property in Northwood among the possessions of Romsey Abbey at its dissolution. In 1544 the wood was granted to Thomas Hopson (fn. 34) and subsequently followed the descent of Ningwood in Shalfleet (q.v.). It was described as 'the manor of Northwood' in 1626, at which time it was in the possession of John Hopson. (fn. 35)
The manor of WERROR (Werore, xii cent.; Werole, xiii cent.; Warror, xvi cent.) was granted to God's House, Southampton, immediately after its foundation about 1197, for it was confirmed to the hospital by Richard I in 1199. (fn. 36) It had been given to the hospital by a certain Mark, and his gift was confirmed in 1209 by his son Roger, of whom the manor was to be held at a yearly rent of 6d. (fn. 37) William de Redvers Earl of Devon (1184–1216) granted to the hospital rights of pasturage and fuel, except for six weeks each year, over the whole land of Werror which belonged to his fee, and which is described as lying within Parkhurst, Northwood, Carisbrooke and the Medina. (fn. 38)
The estate remained in the hands of successive priors until the Dissolution (fn. 39) and passed with God's House to Queen's College, Oxford, (fn. 40) by whom the manor is still owned. (fn. 41)
CHURCHES
The church of ST. JOHN THE BAPTIST lies to the east of the road from Newport to Cowes. It was built as a chapel for the northern portion of the parish of Carisbrooke in the middle of the 12th century, and consists of a chancel, a nave with north and south aisles and a modern tower with spire added at the west end in 1864. The south door is a good specimen of 12th-century work, to be classed with those of Yaverland and Wootton. Both aisles are very narrow and are of four bays, with columns having the characteristic splay-cornered capitals found elsewhere in the Isle of Wight, (fn. 42) and must have been added towards the end of the century, the south being the later. (fn. 43) There are curious flying arches across these, evidently inserted later, to withstand the thrust of the roof and carry the flat above. In the 15th century windows of the period were inserted in the walls and the chancel reroofed, (fn. 44) if not rebuilt, and a small door inserted in the north wall of the nave. There is a good canopied Jacobean pulpit, somewhat similar in detail to that at Wootton. The chancel arch is a plain splay springing direct from the wall without an impost, and looks as though the earlier one had been destroyed and the opening widened in the 15th century. The memorials of interest are a painted wooden tablet to the children of Samuel and Grace Smith, who died in 1668 and 1670, and a curious memorial to Thomas Smith, rector, who died in 1681. (fn. 45)
The one bell, founded by Mears, was hung in 1875.
The plate consists of a chalice inscribed 'T.H. E.L.'; a paten inscribed 'Thomas Troughear, D.D. istius Ecclĩae Rector,' dated 1732; a flagon (plated) inscribed 'Northwood Church, 1831'; an oval paten inscribed '1813.'
The registers date from 1539, and are in seven books (fn. 46) : (i) 1539 to 1593; (ii) 1594 to 1598; (iii) 1599 to 1605; (iv) 1606 to 1618; (v) 1621 to 1660; (vi) 1653 to 1759; (vii) 1743 to 1812.
There is a mission church in Pallance Road with a Sunday school attached.
The church of ST. MARY, WEST COWES, built in 1867 on the site of an earlier church erected in 1657, is a stone structure consisting of chancel, nave of four bays and aisles, with a tower containing one bell and a clock. It has a handsome reredos and a fine organ. There is a brass memorial tablet to Dr. Arnold of Rugby. The living is a vicarage in the gift of the vicar of Carisbrooke. The register dates from 1679.
HOLY TRINITY CHURCH
HOLY TRINITY CHURCH, built of brick in 1832 at the sole expense of the late Mrs. S. Goodwin, was enlarged by the addition of a chancel in 1862. It has a western tower with embattled cornice and angle pinnacles. The register dates from 1833. The living is in the gift of Mr. Ll. Loyd.
The Roman Catholic church of St. Thomas of Canterbury in Terminus Road is a white brick building erected in 1796. There is a large altar-piece by Cau representing the Descent from the Cross, and another of the Death of the Virgin, on the north wall.
At Gurnard is the church of ALL SAINTS, attached to Holy Trinity, Cowes. It is of brick with Bath stone dressings, and has nave, chancel, north and south transepts and a turret with one bell.
ADVOWSONS
The church of Northwood was a chapel of ease to Carisbrooke, and belonged in early times to the priory there, (fn. 47) to which it had been granted by William de Redvers Earl of Devon. When the prior and convent obtained the rectory and endowed the vicarage of Carisbrooke, the tithes of Northwood, both great and small, were assigned to the vicar. (fn. 48) In the reign of Henry VIII Northwood obtained parochial privileges and was exempted from contribution to the repairs of Carisbrooke Church. (fn. 49) The living is still attached to Carisbrooke, and the patrons at the present day are the Provost and Fellows of Queen's College, Oxford.
Cowes is ecclesiastically divided into two districts. The church of St. Mary was built in 1657, and further endowed in 1679 by George Morley Bishop of Winchester, 'provided that the inhabitants should pay the minister (who is always of their own choosing) £40 a year.' (fn. 50) The living is a vicarage, net yearly value £130, in the gift of the vicar of Carisbrooke.
The Roman Catholic church of St. Thomas of Canterbury was served at the beginning of the 19th century by two chaplains of Napoleon's Foreign Legion. The earliest register contains the names of several of the officers and men.
¶There are several large Nonconformist chapels in the town. The oldest of these is the Congregational chapel, which was built in 1804. The Wesleyan chapel was built in 1831, the Baptist chapel in 1877 and the Primitive Methodist and United Methodist Free Churches in 1889.
1984 Ford Granada Mark II – SUI 7779
This Granada was in lightly modified condition when it was spotted at the Old Ford Rally which was held at Gaydon. It was made in 1984 and it was first registered in the UK in the same year, on the 7th of November 1984. It has the original 2.8 Litre (2792cc) V6 engine propelling it along which runs on Petrol and I think this one looks very nice with the extra chrome and different wheels.
1985 Ford Granada Mark II – B265 REA
This Granada was in good original condition when it was spotted at the Old Ford Rally which was held at Gaydon. It was made in 1985 and it was first registered in the UK in the same year, on the 8th of May 1985. It has the original 2.8 Litre (2792cc) V6 engine propelling it along which runs on Petrol and this one looks very nice but would look even better with the rust patch sorted out.
Condition: Good/fair, some fading.; Title from reference sources, see file 203/09/00017-02.; Choregraphed by David, Lichine. Lichine, David (1910 - 1972); Part of collection: The Geoffrey Ingram collection of ballet photographs from the Ballets Russes Australian tour, 1936-1940. Dancer: Dimitri Kulcizky also known as Dimitri Rostoff, see file 203/09/00017-02.
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Im calling this the Hotpoint Slumberline because its Hotpoints version of the GE Slumberline. this unit doesnt say Slumberline on it at all, and looks completly different on the inside. nothing at all in common with the ge version, BUT the outsides are IDENTICLE, minus having a Hotpoint Tag instead of the GE Tag on the back. I think the GE Slumberline is a MUCH nicer looking unit. just my opinion.
Alcazar Air purifier and air conditioner combination with all hook up and clean filter $125,000 (originally $250,000) (USD $236)
Since the condition of my shoulder and arm is deteriorating, I had to find me some stabilized lenses. My best friend sold me his 18-55 USM IS kit lens and his wonderful 55-250 mm, again USM IS.
Besides that, he had a good external flash for me.
This is a test shot with the 18-55 IS kit lens and the external flash in order not to over lit the white parts of the kitten's fur. I had to act quickly as the kitten is all over the house :-)
By the way: there are two more, but for some reason this one seems to love the camera.
Straight out of the camera, no enhancements whatsoever except for some cropping at the right side.
After all, you can't tell a playing kitten how to pose :-)
UPDATE JAN.1st 2010: 2nd place winner in the contest Pet Super Star 2009 from the (Pet Portraits) Group. Thank you very much for voting and appreciating this picture, it is a great honour!
Condition: Good.; Part of the collection: Victorian National Resources Development Train, tour no. 12, Midland-Mallee-Mildura, July 19-24, 1926.; Also available in an electronic version via the Internet at: nla.gov.au/nla.pic-an24733384. "One of the most pleasing visits during the tour was the inspection of the Baby Health Centre at Redcliffs, where members of the Reso party contributed L.42 towards this splendid work. This photograph shows the Ladies' Committee, which received the money."--Caption.
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